Print, 276 smartphone screen photographs, 2020–present
Major Krisztina’s *Sync* emerged from a personal ritual that began in 2020. Over the years, the artist and her yoga teacher, Adrienn Jakab, have exchanged screenshots at 11:11 am on most days. The gesture expresses mutual attention and a belief in meaningful coincidences, resonating with Carl Gustav Jung’s concept of synchronicity. Through yoga, the artist learned to quiet her mind and inhabit the present moment. The time 11:11 became an anchor for pausing and refocusing. Within the conceptual framework of *Hopium*, it represents a ritual of the empty mind, creating space for new thoughts. The title connects synchronicity with the technological notion of synchronisation, transforming the screen into a medium of human connection.
Arranged chronologically in a strict grid, the 276 screenshots form both a personal archive and a digital portrait of our time. Phone models, travel documents and music tracks preserve traces of individual moments. Music holds particular significance for the artist, who paints to music.
Measuring 170 × 100 cm, the collage echoes the artist’s bodily proportions: its width corresponds to her height, while its height approximately reaches the level of her navel. In yoga tradition, the *Manipura* chakra, located around the navel, is regarded as an energetic centre of *prana*, or life force. The work can thus be understood as an extension of the artist’s body across another spatial plane. Leonardo da Vinci’s *Vitruvian Man*, which explores the relationship between the human body and geometric proportion, provides an art-historical reference for this connection between bodily scale and composition.
Eleven empty cells within the grid contain numbers from the Fibonacci sequence. The ratio between successive terms approaches the golden ratio of 1.618, which can also be observed in certain organic patterns in nature, including the spiral growth of plants. These recurring structures inform the artist’s painting practice, in which natural forms become the starting point for abstract visual systems. Similar proportions appear in our everyday technological environment: the aspect ratios of bank cards and most laptop and monitor screens are close to the golden ratio. This does not mean that nature or the universe as a whole follows a single mathematical rule, but it reveals proportional parallels across different systems.
The eleven white cells are not absences but pauses in the rhythm of images: spaces for the empty mind. *Sync* brings together digital memory, bodily presence and an attentiveness to the hidden patterns of nature.
Music:
